List of all exhibits. Click on one of them to go to the exhibit page. The topics allow exhibits to be selected by their concept categories. On the right, you can choose the settings of the list view.

The list below shows links between exhibits in a non-standard way. The points denote the exhibits and the connecting lines are connections between them, according to the selected categories.

Enter the end dates in the windows in order to set the period you are interested in on the timeline.

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The phonograph has a spring drive mechanism and is designed to play discs that have a diameter of 10 to 25 cm at 33 rpm.
It is sometimes described as the walkman of the Victorian era and the great-grandfather of the iPod. It is an example of one of the first pocket-size and movable devices for playing music.

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The phonograph has a spring drive mechanism and is designed to play discs that have a diameter of 10 to 25 cm at 33 rpm.
It is sometimes described as the walkman of the Victorian era and the great-grandfather of the iPod. It is an example of one of the first pocket-size and movable devices for playing music.
”Mikiphone” did not require any power supply as it had a spring drive mechanism and a small bakelite resonator in the shape of a box with holes instead of a commonly used large tube for sound amplification.
The construction of the Mikiphone was patented under the Vadasz system name by Hungarian brothers Nicolas and Entienne Vadász from Geneva in 1924. Shortly after they signed the contract with the renowned Paillard company from Switzerland that launched the production of pocket-size gramophones. A total amount of 180,000 of these devices were manufactured until 1927, including luxury version copies with golden or silver casing.
Although Mikiphone was a movable device, making it able to work was not so easy because it required the user to be very precise as it had small elements that after dismantling could be stored in a small metal can. The device was designed to play discs that had a diameter of 10 to 25 cm at 33 rpm.
The gramophone mechanism was placed within a casing made of chrome-plated metal. On the side of the casing was a key to crank the drive system for the record plate. On the can cover was a stick depicting a drawing of the gramophone elements. On the external side of the cover was an engraved description (name, patent claim, playing system). The gramophone’s head was a transparent mica membrane with a steel needle. The rear part of the head was assembled to the can with a bakelite resonator, consisting of two parts. The set also contained a steel plate for discs with a paper washer for discs, linked with the upper side of the plate. 

Elaborated by the Municipal Engineering Museum, © all rights reserved

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A maze of sense and meaning

The fragment taken from Tadeusz Kantor’s Writings is an invitation.
More than 770 objects, which you will find on the portal, are also 770 stories, 770 separate yet intertwined worlds.
Małopolska’s Virtual Museums constitute a large library, which, as Umberto Eco wanted, is a place to hide (to store), but also to find; a labyrinth of various, often transient, objects and meanings. They can also be a space for the dialogue and discovery of the secret language of relics which, although once part of someone’s life, have been placed in museum collections. Now they breathe a different air – museum cabinets and storerooms...

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“List of 937 exhibits
sketches
drawings
projects
plans
ideas
definitions
analysis
manifests
albums
recipes
prescripts
records
descriptions
games
plays
landscapes
battles
metaphors
metamorphosis
wrecks
destruction
broken taxi
fears
obsessions
horizontal statues
vertical
standing
lying
cycles
specimen
perspectives
panoramas
relics
pauses
aneantyzacje [Kantor’s special artistic methods]
brikabraki [see above]
rendezvous
letters
documents
comments
assemblages,
collages,
embalmments,
and
so
on[1]

The fragment taken from Tadeusz Kantor’s Writings is an invitation.
More than 770 objects, which you will find on the portal, are also 770 stories, 770 separate yet intertwined worlds.

Małopolska’s Virtual Museums constitute a large library, which, as Umberto Eco wanted, is a place to hide (to store), but also to find; a labyrinth of various, often transient, objects and meanings. They can also be a space for the dialogue and discovery of the secret language of relics which, although once part of someone’s life, have been placed in museum collections. Now they breathe a different air – museum cabinets and storerooms.
These are sketches, drawings (such as those by Witkacy, Kantor  or Wyspiański), emanations of someone’s ideas and plans ( Mikiphone pocket phonograph, the flight board of the 308 Krakow Fighter Squadron), destruction and metamorphosis (a vase made from the shell of an artillery roundsalt haira signboard with moving fonts). Vertical figures (like St. Stanislas or Madonna from Krużlowa) and horizontal ones (Napoleon On Horseback). Unique objects (like the Vaca Muerta meteorite or skis of Adam Małysz) and ordinary-unusual objects (like a spoon-holder,a cranked butter churn or a night armchair), which successfully functioned in the homes of our great-grandmothers or great-grandparents, but with the end of the epoch discreetly went out of use.
In Kantor’s part „and so on” on the portal there are countless opportunities to explore and discover personal significance and meanings. The world of Małopolska’s Virtual Museums is just the beginning and the starting point for individual discoveries and wanderings, to which we cordially invite you.

Elaborated by: Anna Berestecka (Editorial team of Małopolskas Virtual Museums),
Licencja Creative Commons

 This work is licensed under a Creative Commons Attribution 3.0 Poland License.


[1] T. Kantor, Pisma, vol. I: Metamorfozy. Teksty o latach 1934–1974, Wrocław 2005, pp. 231–232.

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Mikiphone pocket phonograph

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